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Popüler tarihi filmler, geçmişle duygusal bağlar kuran izleyicileri yakalamaya ve onlara hayal ettikleri tarih deneyimini yaşatmaya çalışmaktadır. Öte yandan izleyiciler oldukları gibi kalmazlar; tarihsel gelişmelere paralel olarak beğenileri ve dünya görüşleri değişime uğrar. Gişe beklentisiyle çekilen popüler tarihsel filmler, hedef kitlenin çoğunluğunun beklentilerinin izlerini taşımaktadır. Bu makalenin amacı, Konstantinapolis kentinin Bizans İmparatorluğundan Osmanlı İmparatorluğuna geçişini konu alan üç Türkiye yapımı tarihi film üzerinden (İstanbul'un Fethi, Aydın Arakon, 1951; Fetih 1453, Fatih Aksoy, 2003; Kuşatma Altında Aşk, Ersin Pertan, 1997) sinemada tarihsel temsillerin dönüşümünü incelemek ve nedenleri üzerinde durmaktır. Makalede, tarihsel filmin, görsel-işitsel tarih yazımı şekli olduğu düşüncesinden hareket edilecek; filmlerin sunduğu tarihsel temsillerin, ağırlıklı olarak sosyo-politik değişimlerle dönülen hedef kitle ve filmin prodüksiyon süreci ile ilgili olduğu tartışılacaktır., Popular historical films strive to capture the audience who create emotional bonds with the past by providing the audience the historical experience they imagined. On the other hand, the worldviews and likes of audiences are not constant and may undergo changes in parallel with historical developments. Popular historical films shot in anticipation of the box office bear the imprint of the expectations of the majority of the target audience. The aim of this article is to explore the transformation of historical representations of films and the reasons for the change by analyzing three Turkish-made historical films describing the handover of the city of Constantinople from the Byzantine Empire to the Ottoman Empire: The Conquest of Istanbul (Aydın Arakon, 1951), Conquest 1453 (Fatih Aksoy, 2003), and Love Under Siege (Ersin Pertan, 1997). In this article, proceeding from the idea that a historical film is a form of audiovisual historiography, it will be argued that the historical representations of films are mainly related to the target audience that transform in line with the social and political changes, and the production process.

Yüksek Lisans Tezi, Bu araştırma, tarih öğretiminde araç olarak kullanılan ve dersin verimli geçmesini sağlayan tarihi filmlerin, öğretmen ve öğrencilerin ifadelerine dayanarak gerçeklik algısını ortaya koymaya çalışılmıştır. Ertem Eğilmez’in yapımları olan “Süt Kardeşler, Tosun Paşa ve Şaban Oğlu Şaban” filmlerinin de güldürü niteliğinin yanında tarihi detaylarının gerçeği yansıtması açısından incelenmesi ve günümüzde daha fazla önem kazanan tarihi yapımların içerdiği tarihsel unsurları gerçeklik bağlamında incelemek amaçlanmıştır. Araştırmada betimsel tarama modeli kullanılmıştır. Öncelikle ayrıntılı literatür taraması yapılmıştır. Daha sonra veri toplama aracı olarak geliştirilen anket kullanılmıştır. Geliştirilen ölçme aracı 2020-2021 eğitimöğretim yılında Konya ilinde Milli Eğitim Bakanlığı’na bağlı olan tüm resmi okullarında görev yapan 123 tarih öğretmeni ve 338 öğrenci üzerinde uygulanmıştır. Öğrencileri lise 10. ve 11. sınıf öğrencileri oluşturmaktadır. Araştırma sonunda elde edilen verilere göre tarihi filmlerin tarih dersinde kullanımı, dersi etkili verimli ve ilginç hale getirmektedir. Ayrıca tarihi filmlerin gerçekliği yansıtmadığı belli bir kurgusal gerçekliğe dayandığı öğretmen ve öğrencilerin ifadeleriyle tespit edilmiştir. Bu ifadelere göre %52 oranla 64 öğretmen ve %49,1 oranla 166 öğrenci tarihi filmlerin gerçekliği yansıtmadığını belirtmiştir. Tarihi filmlerin çekildiği dönemin ekonomik ve sosyo-kültürel yapısının gerçekliğe uygun yansıtılıp yansıtılmaması hakkında yüzde %78 oranla 96 öğretmen gerçeği yansıttığını belirtirken, %52,6 oranla 178 öğrenci gerçeği yansıtmadığı şeklinde görüş bildirmişlerdir. Ertem Eğilmez’in yapımlarından olan “Süt Kardeşler, Tosun Paşa ve Şaban Oğlu Şaban” filmlerinin içerdiği tarihsel detaylarına %47,2 orana karşılık gelen 58 öğretmen dikkat etmezken %54 gibi bir orana karşılık gelen 183 öğrenci bu filmlerin tarihi detaylarına dikkat ettiklerini ifade etmişlerdir. Günümüzde gerçeğe en yakın çekilmiş tarihi filmler arasında %40,7 oranla 50 öğretmen Ayla ve %33,3 oranla 41 öğretmen Cep Herkülü: Naim Süleymanoğlu filmlerini ardından %50 orana tekabül eden 169 öğrenci Ayla ve %26,9 oranla 91 öğrenci Cep Herkülü: Naim Süleymanoğlu filmlerinin gerçeği yansıtmada başarılı olduğunu beyan etmiştir. Bu verilerin doğrultusunda tarihi filmlerin gerçeklik ve kurgusal gerçeklik arasında daha çok kurgusal bir yapıya dayandığı ortaya çıkmaktadır. Görsel medyanın gelişimiyle görsel okuryazarlığında artırılması önerilebilir., In this research, it is aimed to reveal the perception of reality according to the views of teachers and students of historical films, which are used as an educational material in history teaching and ensure that history lessons are efficient. It is aimed to examine the films that are teh productions “Süt Kardeşler, Tosun Paşa, Şaban Oğlu Şaban” of Ertem Eğilmez in addition to the funnuy quality of the historical details reflecting the turth. And it is purposeful to examine the historical elements condational in historical productions that are more important today in the context of reality. Descriptive survey model was used in the research. First a detailed literature review was made. The developed assessment tool was applied to 123 history teachers and 338 teachers working in schools affiliated to the Ministry of National Education in Konya in the 2020-2021 academic year. The students who were given the test consisted of 10th and 11th grade students. According to the data obtained, the use of historical films in the history lesson makes the lesson effective, productive and interesting. In addition, it has been determined by the statements of teachers and students that historical films do not reflect reality and are based on a fictional reality. According to these statements, 64 teachers (52%) and 166 students (49.1%) stated that historical films do not reflect reality. Abaout the ekonomic and social-culturel conditions of the period in wich historical films are filmed is reflected in accordance with reality. 96 teachers (%78) said that reflected the turth. But 178 students (%52) said did not reflected truth. On the other hand, while 58 teachers, corresponding to 47.2%, did not pay attention to the historical details of the films "Süt Kardeşler, Tosun Paşa and Şabanoğlu Şaban", which are among the productions of Ertem Eğilmez, 183 students, which correspond to a rate of 54%, stated that they did.Among the current historical films that are closest to the truth: 50 teachers, which corresponds to 40.7%: the movie "Ayla"; 41 teachers, corresponding to 33.3%, found the films "Cep Herkülü: Naim Süleymanoğlu" close to reality.169 students, corresponding to 50%, and 91 students, 26.9%, declared that the films "Cep Herkülü: Naim Süleymanoğlu" were successful in reflecting the truth. Various suggestions have been developed in line with these data. In with these data, ıt turns out that historical based on a fictional productions. With the devalopment of visual media, increase in visual literacy may be recommended.

Die Wannseekonferenz (1984) portrays the Wannsee Conference of 20 January 1942, where Reinhard Heydrich chaired a meeting of Germany’s ministers to co-ordinate the “Final Solution.” Produced by the public television network Bayerische Rundfunk (BR), Die Wannseekonferenz is neither mere entertainment nor a dry, unsubtle didactic film. Instead, it portrays history in a compelling and disturbing manner. The West German press, however, panned the film, which gained critical acclaim abroad. This article discusses its negative reception within the context of the 1980s television and memory landscapes through a grounding in archival sources.

The article deals with the problem of the influence of the Soviet historical film of 1930-1940-ies on the formation of the attitude to the historical personalities, and through them - to the national history. Historical cinema of the pre-war and wartime period created positive images of such characters of Russian history as Peter the Great, Ivan the Terrible, Alexander Nevsky, Mikhail Kutuzov, Alexander Suvorov. Before that the attitude to them was reduced to the theory of the class struggle and, therefore, was negative. The research was conducted on the basis of the analysis of cinematographic material - films "Peter the First" and "Kutuzov" by V. Petrov, "Alexander Nevsky" and "Ivan the Terri-ble" by S. Eisenstein, "Suvorov" by V. Pudovkin and M. Doller. The results of the work are the following conclusions: the historical films of 1930s-1940s presented the figures of pre-revolutionary Russian history as the great personalities who exalted their homeland and aroused necessary patriotic feelings in the citizens of the young Soviet state. In addi-tion, the formed positive assessment of the above historical heroes largely determined their key place in the historical process, which to some extent has remained to this day., В статье рассматривается проблема влияния советского исторического фильма 1930-1940-х годов на формирование отношения к историческим личностям, а через них – к отечественной истории. Историческое кино предвоенного и военного пери-ода создало положительные образы таких персонажей русской истории, как Пётр I, Иван Грозный, Александр Невский, Михаил Кутузов, Александр Суворов. До этого времени отношение к ним сводилось к теории классовой борьбы и, следовательно, было отрицательным. Исследование проведено на основании анализа кинематогра-фического материала – фильмов «Пётр Первый» и «Кутузов» В. Петрова, «Алек-сандр Невский» и «Иван Грозный» С. Эйзенштейна, «Суворов» В. Пудовкина и М. Доллера. Результатами работы стали следующие выводы: историческое кино 1930-1940-х гг. представило деятелей дореволюционной русской истории в качестве великих личностей, возвысившим своё Отечество, пробудив в гражданах молодого советского государства патриотические чувства. Ранее фильмы об этих персонажах практически не снимали, так как не видели в этом смысла. Кроме того, сформиро-вавшаяся положительная оценка выше указанных исторических героев во многом определила занимаемое ими ключевое место в историческом процессе, что в неко-торой степени сохранилось до сих пор.

Resumo O presente artigo se propõe a analisar expoentes da filmografia histórica nacional dedicadas ao tema da Independência do Brasil, refletindo sobre como a forma de suas narrativas e de seus personagens respaldam, convergem ou se distanciam de determinadas visões a respeito da constituição de um Brasil independente de Portugal. Se por um lado, há filmes que, baseados em documentos e iconografias, sustentam uma visão oficial e didática da Independência, há outros que apresentam releituras livremente inspiradas e, até mesmo, de verve satírica. A análise será pautada num conjunto de artigos e reportagens veiculados pela imprensa ao longo do século XX. Abstract This article aims to analyze exponents of the historical filmography dedicated to the Independence of Brazil, reflecting on how their narratives and characters support, approach, or distance themselves from certain views on the formation of an independent Brazil. While some films based on documents and iconographies support an official and didactic view of the Independence, others present free and even satirical re-readings of the event. The analysis will be based on a set of articles and reports disseminated by the press throughout the twentieth century.

This study shows how historical film confronted popular memory and the dominant sense of history, to deconstruct and supplant these modes, resulting in a media revolution for historical transmission and experience. With its inherent potential and oft-lamented drawbacks, I argue that film came to shape a primary regime of historicity, one that made history internationally shared, primarily imagistic rather than narrative, explicitly constructed and a sensory experience specifically for embodied viewers. In order to closely analyze this emergence of cinematic historicity I turn to symptomatic contemporary developments that expose the power of cinema on historical thought and writing. The project begins by tracing historical film's pedagogical inflection, first in its international context as a connective force for peace and understanding and then by focusing in on the potential of historical film in Weimar classroom instruction. Next, I detail the response and appropriation of cinematic possibilities for historians and the invasion of the popular form into the academy. After treating the international, pedagogical, and historiographical contexts, I argue for the corporeal experience of history on film as shaping the popular "sense" of the past and offering a qualitative gain in historical transmission.The first chapter reveals the entanglement of historical films immediately following the Great War as transnational and interconnected products. The chapter historicizes Ernst Lubitsch's and Germany's entry into the international film market and the attendant politics of promoting world pedagogy through world history in the "universal language" of silent film. This sentiment is traced in the conception of borders, limits and expansion in both the formal construction of Lubitsch's history films, Passion (1919), Deception (1920) and The Loves of Pharaoh (1922), as well as the discourses surrounding them. The chapter intervenes in traditional accounts of this period that perpetuate a purely nationalist view of marketing spectacle and instead treats the transnational element of history films in form, content, and reception. This focus reveals Germany's cultural and economic connection,understood as an alternative to the largely ineffective League of Nations.The next chapter localizes the issues of historical film by surveying educational attempts to incorporate historical film in the official pedagogy of early Weimar. Focusing on previously untreated debates centered on the effect of the medium, this chapter uses the figure of youth from Benjamin's writings to consider an alternative mode of history film reception. This mode is tied to the ontological realism of the medium and is shown to eschew "historicism," while foregrounding the constructed and illusory nature of creating history out of the past.The third chapter, "Clio in Crisis," starts from the address given at Ernst Troeltsch's funeral to explore the international hope for "new history" and the implications of the crisis of historicism. The chapter then treats filmic examples of thematizing historical visualization, before turning to the way cinema shaped historical writing and thought for historians. Walter Benjamin's conception of alternative historiography, armed with film's "dynamite," together with Siegfried Kracauer's thoughts on photographic media's "dynamizing" relation to history and memory provide examples of exploring the threat and promise of cinema in the popular presentation as well as the very writing of history. I argue that historical productions, both that of individual films as well as film-inspired thought and writing, came to register the crisis of historicism and help translate it into culturally consumed terms.The final chapter begins with beheadings on film as a modern spectacle tied to grave sensory history--cinematically fragmenting the body as well as framing bodily experience for an audience. The chapter seeks to mitigate Kracauer's dismissal of Lubitsch's history films (in Caligari to Hitler) by using his more sensory-oriented observations in Theory of Film. The chapter shows how nineteenth-century historicism entailed "self-extinguishment" and thus the extraction of the sensing body in historiographical construction and reception. By using Vivian Sobchack's film phenomenology to read Passion, I argue that historical film returns the body to the historical process and that this important cultural shift escapes the lens of traditional historiography, but captures the cinematic regime of historicity.

This doctoral thesis aims to retrace the history of the 'Le Printemps de la liberté' film project authored by Jean Grémillon between 1947 and 1948. Commissioned by the Commission nationale du Centenaire de la Révolution de 1848 and financed by the Ministère de l’Éducation nationale, the movie was meant to retell the revolutionary events of the months of February and June of 1848 to a general audience. The endeavor was eventually abandoned due to the backing out of its sponsors. The purpose of this research is to understand the reasons of this forfeiture. They are to be found in the context of the film's production, the precarious institutional makeup that originated the project and in the substance of the scenario itself. We will also see that this failure left its mark on Grémillon's career and branded him a "cinéaste maudit".; Cette thèse a pour objet de retracer l’histoire du projet de film Le Printemps de la liberté écrit par Jean Grémillon entre 1947 et 1948. Commande de la Commission nationale du Centenaire de la Révolution de 1848 financée par le Ministère de l’Éducation nationale, le film devait être consacré à retracer les événements révolutionnaires des mois de février et de juin 1848 pour le grand public. Le projet ayant finalement abandonné après un an de préparation du fait de la rétractation de son commanditaire, cette recherche aura pour objectif de comprendre les raisons de cet abandon. Celles-ci sont à chercher tant du côté du contexte de production du film, du montage institutionnel qui en est à l’origine, que dans le contenu du scénario. Nous verrons également comment cet échec a marqué la carrière de Grémillon en faisant de lui un « cinéaste maudit ».

Magistrsko delo z naslovom Produkcijski izzivi snemanja vojno zgodovinskega filma navaja in opisuje pogoste težave, ki se lahko pojavijo pri ustvarjanju filmov iz vojnega in zgodovinskega žanra. Skozi opisovanje postopkov izdelave filma iz tega žanra je na praktičnih primerih prikazano, kako se proces filmske produkcije dodatno oteži zaradi elementov, ki so specifični tema dvema žanroma. Vojni film ima kot zelo specifičen in prepoznaven tip filma obilico vsebinskih dodatkov, ki ga ločijo od ostalih zvrsti in pogosto dopolnjuje ali gradi svojo strukturo s pomočjo vizualno atraktivnih elementov. Podobno specifičen je tudi zgodovinski film, ki ima za svojo glavno značilnost, da se vsebinsko odvija v preteklem času in pričakovanja gledalcev za vizualni presežek so lahko še večja kot pri vojnem filmu. Za najboljši prikaz zahtevnosti izzivov je bilo potrebno najprej na pregleden način opisati postopke filmske produkcije s poudarkom na fazah, ki bodo najbolj na udaru od izdelavi filma iz teh žanrov. Pri eksperimentalnem delu pa je bila izvedena celotna produkcija vojno zgodovinskega filma, da so se lahko zabeležile vse težave in edinstveni izzivi, ki so specifični za vojni in zgodovinski žanr filma. Ugotovljeno je bilo, da snemanje filma iz vojno zgodovinskega žanra predstavlja precej večji izvedbeni izziv, kot če bi bil podoben filmski projekt postavljen v okvirje drugačnega žanra. Med ugotovitvami se je izkazala nuja po obsežnem načrtovanju zaradi zahtevnosti izvedbenih faz ter tudi zaradi specifik pri prikazovanju zgodovinske avtentičnosti v zgodbi. To velja predvsem pri pisanju zgodbe v pred produkcijski fazi ter pri zagotavljanju kostumov, rekvizitov, lokacij in množico drugih zgodovinsko avtentičnih detajlov v produkcijski fazi. Slednje smo reševali s povezovanjem z društvi, ki se ukvarjajo s zgodovinskimi uprizoritvami, ter preko njih reševali problematiko zgodovinske avtentičnosti. Dejavniki, kot so množične scene in uporaba pirotehnike, pa so povečevali zahtevnost izvedbe v produkcijski fazi z vidika prikazovanja vojnih prizorov v zgodbi. Tega smo se lotili predvsem s podrobnim načrtovanjem v čim večjem detajlu. Večkrat je nastala tudi situacija, ko je prišlo do združitve vseh najzahtevnejših elementov izvedbe zgodovinskega ter vojnega filma pri snemanju enega sklopa, kar je povečalo in zapletlo produkcijski proces. The master's thesis entitled Production Challenges of Filming a War History Film lists and describes the common difficulties that can arise in making films from the war and history genre. Through the description of the processes of making a film from this genre, practical examples show how the process of film production is further complicated due to elements that are specific to these two genres. War film, as a very specific and recognizable type of film, has an abundance of content that sets it apart from other genres and often complements or builds its structure with the help of visually attractive elements. Similarly specific are historical films, which have as their main feature that they take place in the past and viewers' expectations for a unique visual presentation can be even higher than in a war film. To best illustrate the complexity of these challenges, it was first necessary to describe film production processes of with an emphasis on the stages that will be most affected by the production of a film from these genres. In the experimental portion however, a complete historical war movie was made, so that all the problems and unique challenges specific to the war and historical genre of the film could be noted. It has been found that making a film from a war-historical genre poses a much greater production challenge than a film from a different genre would. Among the findings is the need for extensive planning due to the complexity of the implementation phases and due to the need for historical accuracy in the story. This becomes important when writing a story in the pre-production phase and providing costumes, props, locations, and a host of other historically authentic details in the production phase. We solved the latter by co-operating with association that deal with historical performances, and through them, we solved the problem of historical authenticity. Factors such as mass scenes and the use of pyrotechnics, also presented a major factor in increasing the complexity of the overall production. This was in regards to depicting war scenes in the story. We tackled this mainly with a great deal of planning in as much detail as possible. There were also several situation when all the most demanding elements of a historical and war film combined in a single scene, which increased and complicated the production process.

The aim of the article is to explore of genre and dramaturgic features of a modern historical film. The research methodology is based on the systematic use of materials from the scientific branches of art and cultural science, cinema theory and history, psychology, etc. The empirical basis of the study included a series of historical films of the XXI century, a detailed analysis of genre and dramaturgic features was carried out. The results. Historical drama is the leading genre of a film based on real events, which grinds the past, turning it into a mirror image of the present. Thus, the theme of the film, its newsworthiness has the equal importance along with the genre, which ensures the integrity of the material, director’s and cameraman’s methods and techniques and the style, which forms the aesthetic expressiveness of the film. Films based on real events, which premiered in the XXI century, were chosen as the empirical basis of the study. As the core of the plot were chosen issues of human rights violations, social discrimination and injustice. These problems have their origins in ancient times and have long been the main obstacles for the establishment of democratic values in society. We found that modern historical drama has significant morphological differences from the XX century drama: lack of epicism, abandonment of the tragic component in favor of a happy ending, the transition from melodramatics to hybridization of drama with more dynamic genres: action, road movie, western. At the same time, we see that modern historical drama has signs of genre elasticity and syncretism, which allows forming new multi­genre constructions that have not yet entered scientific circulation in the domestic press (action drama, crime drama, western drama, kidnap drama, etc.). The dramatic features of modern historical films are closely related to the genre construction of the films. The genre of autobiography determines the priority of using the “plot of growing up” and “plot of the experience”, when the main characters grow up psychologically and fight for their rights: life, freedom, personal inviolability. The hero— is dominated archetype, a person who serves others, sacrifices himself or puts himself in constant danger for the sake of others. The issue of social inequality in the historical context, when realities separate the viewer from the depicted events for a significant period of time, is reflected in the historical film more often and has a proper response from the viewer. At the same time, the modern issue of human rights, which demonstrates the principle of “democracy for the elect” is not so popular among modern fans of historical cinema. Novelty. The scientific novelty of the article is to identify the modern morphology of historical film, the actualization of the relationship between the genre, the magnitude of the theme of historical film, its dramatic solution and the value expectations of the audience. The practical significance. The main theses and results of the research may be useful for practicing screenwriters of historical films. The recommendations in this article contribute to the creation of a commercially successful and psychologically powerful film product. In addition, the article can be used for academic disciplines in film schools in Ukraine and abroad., Досліджено сутність жанру історичного фільму, проаналізовано сучасні кінотвори з точки зору над­жанрових побудов сучасного ігрового кіно. Показано проблематику формування загальної концепції історичного фільму, вибору жанрової конструкції, підготовки сценарію з урахуванням ціннісних установок та побажань аудиторії. Окрема увага приділена еволюції теорії жанру, що мала як етапи утвердження беззаперечного авторитету жанру як запоруки цілісності твору, так і періоди повної відмови від жанру на користь вільної авторської інтерпретації та відтворення дійсності. Порушено питання достовірності зображуваних подій як в історичних фільмах, так і у фільмах, що не позиціюються як історичні. Виявлено жанрову та драматургічну трансформацію сучасного історичного фільму, що полягає в утворенні нових жанрових структур та зміні загальної драматургічної структури твору.

В статті надано аналіз розвитку українського історичного кіно початку ХХІ століття через призму формування жанру в новітніх соціально-економічних та політичних умовах. Розглядається визначення історичного кіно, його основні риси, проблема ідентичного відображення реальних подій в ігрових фільмах.Автор узагальнює і доповнює визначення історичного кіно як жанру кіномистецтва, визначає його головні риси. Історичний художній фільм має свої особливості і одна із головних полягає в тому, що він не повинен відображати події минулого, або сьогодення із повною історичною документальністю, зберігаючи в той же час так званий «дух епохи» завдяки костюмам, локаціям, реквізиту, мові. Завдання цього жанру полягає в показі героїв, або героя на тлі епохи, історичних подій через світосприйняття окремих осіб, які можуть бути реальними, так і результатом режисерського вимислу. Художній історичний фільм виглядає як твір на історичну тему, у якому присутні реальні і надумані персонажі, останні при тому можуть бути головними героями, а реальні другорядними. Це твір насичений не стільки спробами екранізувати події на документальній підставі, скільки реконструювати певні історичні події на основі документів, але із авторським-режисерським прочитанням.У статті охарактеризовано українські кінострічки засновані на історичних подіях, розглядається проблема достовірності історичних процесів, відображених в українському кінематографі, особливості формування образу героя. Історичні фільми є незамінним елементом в процесі національно-патріотичного виховання, відображенні історичних подій, які були довгий час замовчувані офіційною історичною наукою за радянських часів, засобом формування національної ідентичності та історичної пам’яті., The article provides an analysis of the development of Ukrainian historical cinema at the beginning of the XXI century through the prism of genre formation in the latest socio-economic and political conditions. The definition of historical cinema, its main features, the problem of identical reflection of real events in feature films are considered.The author summarizes and complements the definition of historical cinema as a genre of cinematography, defines its main features. A historical feature film has its own characteristics and one of the main is that it should not reflect the events of the past or present with full historical documentation, while maintaining the so-called «spirit of the era» through costumes, locations, props, language. The task of this genre is to show the heroes, or the hero against the background of the era, historical events through the worldview of individuals, which may be both real, and the result of director’s imagination. A feature historical film looks like a work on a historical theme, in which there are real and fictional characters, the latter can be the main characters, and the real - supporting. This work is full not so much of attempts to screen events on the documentary basis, as to reconstruct certain historical events on the basis of documents, but with an author’s-director’s viewing.The article describes Ukrainian films based on historical events, considers the problem of reliability of historical processes reflected in Ukrainian cinema, the peculiarities of the formation of the image of a hero. Historical films are an indispensable element in the process of national-patriotic education, a reflection of historical events that have long been silenced by official historical science in Soviet times, a means of forming national identity and historical memory.

Since The West Wing (NBC, 1999-2006), the political drama series has been a proliferating format for fictional engagements with American politics. Georgi-Findlay focuses on how The West Wing and 24 (Fox, 2001-2010) engage public narratives about Islam and Islamophobia, arguing that the shows go beyond what Evelyn Alsultany has termed “simplified complex representations” by creating contradictory, multivocal texts that display dynamics of internal disaccord. Representations of Arabs, Muslims and Muslim countries are embedded within storylines that challenge each other. Especially The West Wing stages discussions that can lead to informed debates, reflecting and exposing the contradictions within the American national identity discourse between an inclusionist civic and an exclusionist racialized nationalism. In both series, polyvocal narratives are brought across not only by intertwining multiple discourses, but also by way of aesthetic strategies and intermedial references that supply additional textual layers, complicating viewers’ processes of meaning-making and contributing to in-text dissensus and ideological ambivalences. Both series thus can be read against the grain, as contradictory, multivocal texts that both reflect and expose Islamophobia.

A report of the last two editions of the Gdynia Film Festival in Poland., Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe, No 9 (2019)